Csec music syllabus

CXC 31/G/SYLL 07
CARIBBEAN EXAMINATIONS COUNCIL
Caribbean Secondary Education Certificate
CSEC®
MUSIC SYLLABUS
Effective for examinations from May/June 2011

CXC 31/G/SYLL 09
1
Published by the Caribbean Examinations Council
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means electronic, photocopying, recording or otherwise without prior permission of the author or publisher.
Correspondence related to the syllabus should be addressed to: The Pro-Registrar
Caribbean Examinations Council Caenwood Centre
37 Arnold Road, Kingston 5, Jamaica, W.I.
Telephone: (876) 630-5200
Facsimile Number: (876) 967-4972 E-mail address: cxcwzo@cxc.org Website: www.cxc.org
Copyright © 2009, by Caribbean Examinations Council The Garrison, St Michael BB14038, Barbados

CXC 31/G/SYLL 09 2
Contents
RATIONALE .................................................................................................................................................................. 1
AIMS ................................................................................................................................................................................. 1
GENERAL OBJECTIVES .......................................................................................................................................... 2
CAREER CHOICES ..................................................................................................................................................... 2
COURSE PRE-REQUISITES ................................................................................................................................... 3
SUGGESTED RESOURCES .................................................................................................................................... 4
ORGANIZATION OF THE SYLLABUS ............................................................................................................. 5
SUGGESTED TIME-TABLE ALLOCATION FOR TEACHING ............................................................. 5
CERTIFICATION AND DEFINITION OF PROFILE DIMENSIONS.................................................5
FORMAT OF THE EXAMINATIONS ................................................................................................................ 6
ASSESSMENT DETAILS ......................................................................................................................................... 8
REGULATIONS FOR RESIT CANDIDATES .................................................................................................. 15
REGULATIONS FOR PRIVATE CANDIDATES ........................................................................................... 15
PROFILE DIMENSION: LISTENING AND APPRAISING (LIAP) ......................................................... 16
PROFILE DIMENSION: PERFORMING (PERF) ........................................................................................... 18
PROFILE DIMENSION: COMPOSING ............................................................................................................... 20
ASSESSMENT CRITERIA ....................................................................................................................................... 22
SCHOOL BASED ASSESSMENT ........................................................................................................................... 29
DETAILED SBA MARK SCHEMES .....................................................................................................................31
APPENDIX I - MUSIC VOCABULARY ..............................................................................................................36
APPENDIX II – GLOSSARY ...................................................................................................................................41

9 3
CXC 31/G/SYLL 0
APPENDIX III - SUGGESTED READING AND RESOURCE MATERIAL ....................................... 44
APPENDIX IV - EXEMPLAR MATERIAL FOR PERFORMING ........................................................... 51
APPENDIX V – GUIDANCE TO TEACHERS AND CANDIDATES ..................................................... 56
This document CXC 31/G/SYLL 09 replaces CXC 31/G/SYLL 00 issued in 2000.
The Music syllabus was revised in 2009 for use in examinations from 2011. The major amendments and additions to the syllabus are written in italics.
First issued in June 1997 Revised 2000
Revised 2009
Please check the website, www.cxc.org for updates on CXC syllabuses.

Music Syllabus
◆RATIONALE
Music education contributes to the enhancement of aesthetic and intellectual development as well as social skills. As a part of general education, music is pleasurable to and suitable for students with different aptitudes and abilities, including those students who are physically and emotionally challenged. The nature of Music education allows students to develop their capacity to manage their own learning, work together with others and engage in activities that reflect the real-world practice of performers, composers and audiences. Music is also known to contribute to the development of qualities that other disciplines aim to develop, namely: creative and inventive thinking, self-control, self-expression, disciplined thinking, problem-solving abilities, teamwork and sensitivity to the needs and contributions of others.
In offering the CSEC Music syllabus, the Caribbean Examinations Council is providing opportunities for the development of a practical knowledge of music and of the skills of analysis that can form the basis for further studies in teaching, performing, conducting, composing and arranging, the music business and other music-related fields. The syllabus is rooted in Caribbean musical expressions, as well as in the musical expressions of other cultures. Further, the syllabus enables regional peoples to participate in the continuing development of Caribbean musical culture and to contribute to, and draw from, the pool of knowledge that constitutes world music.
The syllabus also contributes to the development of selected attributes from the CARICOM Ideal Person document as articulated by the CARICOM Heads of Government. This person is one who demonstrates emotional security with a high level of self-confidence and self-esteem, is aware of the importance of living in harmony with the environment and nurtures its development in the economic and entrepreneurial spheres in all other areas of life (CARICOM Education Strategy, 2000).
This holistic development of students aligns with selected competencies advocated in the UNESCO Pillars of learning. These are learning to be, learning to do, and learning to transform one’s self and society.
◆AIMS
The syllabus aims to:
1. encourage the desire to continue learning in formal and informal music settings during and after school;
2. provide knowledge and skills to critically analyze and evaluate music;
3. provide opportunities for the development of personal values about music;
4. provide opportunities through which students can develop creativity, manage their own learning, work together with others and engage in activities that reflect the real-world practice of performers, composers CXC 31/G/SYLL 09 1

and audiences;
5. provide opportunities for informed decision-making through the development of skills in critical thinking, problem-solving, research and communication.
◆GENERAL OBJECTIVES
On completion of the syllabus, students should:
1. develop knowledge and skills to engage in music as an educative activity, valuing the process as much as the end product;
2. acquire direct experience of music through listening and appraising, performing and composing;
3. develop a musical understanding of aesthetic intentions of different styles and genres;
4. develop knowledge and understanding of the socio-cultural context of different types of music;
5. appreciate the importance of independent learning through the development of analytical, communicative, manipulative, aural and translative (notational) skills;
6. develop the ability to interact with one another in a courteous exchange of ideas about different musical idioms and to develop an acceptance of diverse musical expressions and interests;
7. develop critical thinking, problem-solving and research skills by engaging in musical activities;
8. develop the ability to identify short-term and long-term musical goals and to work with discipline and confidence towards the achievement of excellence.
◆CAREER CHOICES
The skills and knowledge acquired through the study of this syllabus may be further developed and employed in a variety of professions, including those below.
Accompanist Arranger/Composer Conductor/Band Leader Cultural Officer
Sound Engineer
Instrument Repair Technician/Piano Tuner Music Educator
Performer CXC 31/G/SYLL 09 2

Producer (for example, of programmes and records)
Researcher (Publisher)
Music Critique Music Journalist Music Librarian Music Therapist Music Retailer Ethnomusicologist Disc Jockey
◆COURSE PRE-REQUISITES
It is expected that the curriculum in those schools that register candidates for this examination will offer a sustained programme in Music from Grades 7 to 9 (First to Third Forms). This syllabus, which is designed for students at Grades 10 and 11 (4th and 5th Form), assumes that students will have:
1. fundamental knowledge of the main musical features of Western Art music (classical), Caribbean popular and folk music and the ability to discuss and appraise these musics by reference to musical elements;
2. experience in composing simple pieces for classroom or other audiences;
3. experience in making music in a group with its attendant activities - such as responding to conductor's cues and to musical symbols, for example, tempos, dynamics and articulation;
4. knowledge of foundation theory (for example, clefs, note and rest values, time signatures, key signatures up to three sharps and three flats with scales and primary triads in these keys, intervals and marks of expression);
5. basic competence on an instrument: the ability to perform music with fluency, accuracy and read from standard notation or chord symbols.
NB: On the keyboard, skills in such pieces would include the ability to execute independent actions while using both hands simultaneously. On single-line melodic instruments, students should be able to play pieces encompassing a range of approximately a 10th. On guitar students should be able to play common chords (I, IV, V) in at least two keys while being able to use at least two strum patterns. CXC 31/G/SYLL 09 3

◆SUGGESTED RESOURCES
The following is a suggested list of minimum equipment and materials that should be available to the Department of Music in its preparation of candidates for this examination:
1. suitable music room;
2. high quality recording and listening equipment, CD recorder;
3. instruments of which the following are strongly recommended:
(a) piano or five-octave electronic keyboard (touch sensitive),
(b) 2 acoustic guitars,
(c) 2 conga or other types of drums of different tones,
(d) 6 recorders (in addition, it is recommended that individual students purchase their own, if they are offering this instrument for examination),
(e) set of pitched percussion instruments (for example, steel pan, xylophone, glockenspiel),
(f) set of non-pitched percussion instruments (for example, tambourines, cymbals, claves, guiros);
In areas where there are other instruments, (strings and wind) which are commonly used, these may be substituted for any of the above.
4. computer hardware and software (at minimum 3 work stations);
5. listening resource material:
(a) a range of recordings drawn from the following musical genres:
- Folk (Caribbean and others),
- Popular (Caribbean and others),
- Western Art,
- African,
- Latin American,
- East Indian
- Indigenous.
(b) a range of scores, texts and other printed materials related to music.
It is strongly recommended that a Music Department be equipped with additional instruments and a wide range of recordings, texts and materials. These would be highly advantageous in meeting the demands of the syllabus. CXC 31/G/SYLL 09 4

◆ORGANIZATION OF THE SYLLABUS
The syllabus is organised under three Profile Dimensions or major areas of study, namely: Listening and Appraising (LIAP), Performing (PERF) and Composing (COMP). Candidates are required to complete three components: A paper based on Listening and Appraising; one practical examination based on Performing and Composing; and a third component, the School Based Assessment (SBA) based on the research, Listening and Appraising, Composing and Performing profile dimensions.
◆SUGGESTED TIME-TABLE ALLOCATION FOR TEACHING
It is recommended that a minimum of seven 40-minute periods per week over two academic years be allocated to the teaching of music. This should include at least one double period each week or cycle.
◆CERTIFICATION AND DEFINITION OF PROFILE DIMENSIONS
The syllabus will be examined for the General Proficiency certification. The certificate will report:
1. the overall grade achieved, with Grade I, the highest and Grade VI, the lowest;
2. three profile dimensions, namely, Listening and Appraising (LIAP), Performing (PERF) and Composing (COMP).
Listening and Appraising (LIAP): the ability to focus aurally on the structural and expressive
elements of music and, using appropriate musical language, to discuss and appraise ways in which these elements are used in the creation and performance of different genres and styles.
Performing (PERF): the ability to perform vocal or instrumental music, displaying understanding of and sensitivity to musical structure and style.
Composing (COMP): the ability to select and sequence sound in order to express and communicate musical ideas, thoughts and feelings. This includes adding new parts or ideas to an existing piece (arranging), as well as spontaneously experimenting with new ideas while in the act of performing (improvising). CXC 31/G/SYLL 09 5

◆FORMAT OF THE EXAMINATIONS
There are three components in the examination.
Paper 01 (LIAP), Paper 02 (PERF/COMP) and Paper 03 (SBA). Paper 03, the SBA, has two sections, (i) LIAP - three assignments from which the candidate must select ONE, (ii) PERF – one solo performance and one ensemble.
Pa p e r 0 1
(2 hours)
Li s t e n i n g a n d Ap p r a i s i n g ( LI AP) ( 55 m a r k s )
A paper requiring short responses based on the Listening and Appraising profile dimension. The paper will be sub-divided as follows:
Section I: Five short-response, compulsory questions based on
musical perception. (20 marks)
Section II: One short-response, compulsory question based on musical literacy. (15 marks)
Section III: Three short-response optional questions. Candidates are required to select one question based on selected ‘set works’. (20 marks)
There will be ONE 10-minute break after Section I.
Pa p e r 0 2
(P r a c tic a l c o m p o n e n t)
Pe r f o r m i n g ( PE RF) a n d C o m p o s i n g ( C OM P) (6 8 m a r k s)
A practical examination in two sections based on the Performing and Composing profile dimensions.
Section I: Pe r f o r m i n g ( PE RF) ( 2 4 m a r k s ) Candidates will be required to:
i. Sing or play one selected solo piece from any musical genre (2- 4 minutes) (15 marks)
ii. Sing or play one scale and arpeggio in the key of the piece or one technical study (5 marks)
iii. participate in viva voce discussion, in which the candidate discusses particular musical features of the pieces learnt during the two years of performance. (4 marks) CXC 31/G/SYLL 09 6

Section II: Co m p o s i n g ( CO M P ) ( 4 4 m a r k s )
Candidates will be required to present TWO compositions for assessment, as well as participate in a viva voce discussion.
Candidates are required to submit a composing file containing:
(i) Two composing assignments – one arrangement and one original composition. One of the compositions must be rehearsed and presented in a live performance during the practical examination. (20 x 2 marks)
(ii) Viva Voce discussion, in which the candidate discusses particular musical features of the pieces presented in the composing file.
(4 marks)
Pa p e r 0 3 (School Based Assessment)
Li s t e n i n g a n d Ap p r a i s i n g ( LI AP) a n d Pe r f o r mi n g ( PER F)
(5 2 m a r k s)
The School Based Assessment assesses LIAP and PERF skills and includes two components:
(i) LIAP
One written assignment
One assignment chosen from the syllabus by the candidate, will be undertaken during terms three, four and five of the two-year course.
(20 marks)
(ii) PERF
(a) One Solo performance
• Sing or play ONE solo piece from any musical genre (2 – 4
minutes)
• Sing or play ONE scale (major or minor) or present one
technical study. The scale and arpeggio should be in the key of the solo pieces.
(b) One Ensemble
(20 marks)
One instrumental or vocal piece performed in a group (ensemble a minimum of two players), (3–5 minutes). The candidate being examined must perform a clear and distinguishable role in the group.
(12 marks) CXC 31/G/SYLL 09 7

WE I G H T I N G OF PAPERS AND PROFILE DIMENSIONS
The weighting of the examination components and profile dimensions is as follows:
Co n t r i b u t i o n of Marks by Papers and Profile Dimensions
Profile Dimensions
Paper 01
Paper 02
Paper 03 SBA
Total
Marks
%
Marks
%
Marks
%
Marks
%
Listening and Appraising (LIAP)
55
(Weighted 80)
40
-
-
20
10
100
50
Performing (PERF)
-
-
24
12
32
16
56
28
Composing (COMP)
-
-
44
22
-
-
44
22
Total
Weighted 80
40
6 8
34
52
26
200
100
%
40
34
26
100
◆ASSESSMENT DETAILS
A. DESCRIPTION OF THE EXAMINATION IN LISTENING AND APPRAISING IN PAPER 01 (LIAP)
In Paper 01, candidates' performance will be assessed by means of a written paper requiring short- answer responses. The paper will comprise three sections:
Section I - Musical Perception - 40 minutes
Section II - Musical Literacy
Section III - Set Works Section I - Musical Perception (20 marks)
- 80 minutes
Section I (Musical Perception) is based on brief musical (audio) excerpts not previously studied by
candidates as part of the syllabus. The audio is played a number of times pertinent to the challenge of the tasks. In this section, candidates respond spontaneously to the elements of unprepared music.
Candidates will respond to questions based on recorded extracts of music of different genres and styles. The recording will incorporate time for completing the questions based on each extract as well as time to read the questions for each extract. After the completion of this section, the scripts will be collected. There will be a 10-minute break at the end of this section. CXC 31/G/SYLL 09 8

Section II – Musical Literacy (15 marks)
Section II (Musical Literacy) is based on a complete piece of music (or section thereof) for which both a score and an audio recording are provided. It requires candidates to demonstrate their reading and manuscript (literacy) skills in relation to applied theory.
Candidates will be allowed five (5) minutes to read the questions before liste n in g to a piece of pre- recorded music related to the questions in this section. There will be a second playing of the recording FIVE minutes after the first playing. Candidates will be required to demonstrate knowledge and understanding of conventional staff notation by relating an audio excerpt to its score.
Questions will focus on structural and expressive elements, for example, tonality, tempi and dynamics. Immediately on completion of this section, candidates will be allowed to begin to write their responses
to questions in Section III.
Section III - Set Works (20 marks)
Section III (Set Works) is based on a set work (score and audio) that candidates select from the syllabus and study during the two years of preparation. Candidates are expected to acquire intimate familiarity with the selected work and be able to analyse structural, expressive and socio-cultural details. Neither the score nor the audio is allowed during the written test. Candidates may score marks from ONE set work only.
Candidates will be required to answer questions based on ONE of three set works selected from the syllabus. They will be expected to answer open-ended questions and provide musical illustrations where necessary.
No t e : It is highly recommended that teachers be present during the administration of the examination.
Set Works
1. Pyotr Ilyich Tchaikovsky: The Nutcracker Suite, Op. 71a (Programme Music) 1892 The following movements have been selected for study as one of the set works in Paper 01:
2. March 7. Trepak (Russian Dance)
4. Chocolate (Spanish Dance) 8. Toy Flutes
5. Coffee (Arabian Dance 11. Pas De Deux
6. Tea (Chinese Dance) 14. Coda
2. Burnett, Michael: Let These Things Be Written Down (Cantata) Comus Edition, 2007 The following movements have been selected for study as another of the set works in Paper 01: Part 1: Jane and Louisa (vocal score pp 16-25) Part 2: Brown Baby Blues (pp 48-55)
The Slave Singing at Midnight (pp 26-28) Brown Girl in the Ring (pp 59-67)
The Bound (pp 28-33) Peace and Love (pp 67-72)
Jane and Louisa (pp 84-98) CXC 31/G/SYLL 09 9

3. Mussorgsky-Ravel: Pictures at an Exhibition, 1975
The following movements have been selected for study as the third of the set works in Paper 01:
Promenade 1
Gnomus (The Gnome)
Promenade 2
II Vecchio Castello (The Old Castle) Promenade 3
Tuileries (Children Quarrelling After Play) Bydlo (Cattle)
Promenade 4
Ballet des Poussins dans Leurs Coques (Ballet of the Unhatched Chicks)
B. DESCRIPTION OF THE EXAMINATION IN PERFORMING (PAPER 02)
The examination in performing comprises a prepared performance. Candidates will be required to present ONE Solo Performance consisting of a prepared piece and one scale and an arpeggio or one technical study. Candidates will present a file of pieces learnt during the two-year period. They will also participate in a vi va vo c e discussion with the Examiner on the file presented. The requirements of the examination are as follows:
Solo Performance - 20 m ark s
Candidates will be required to present a well rehearsed and carefully prepared Solo performance comprising any musical genre.
The performance should consist of:
(a)
one solo piece in any genre
AND
(b)
one scale and arpeggio
OR
(c)
one technical study
Solo performance should NOT exceed 4 minutes.
(15 marks)
Scales and arpeggios and technical studies must be performed from memory.
All of the above must be in a range commensurate with the candidates’ level of competence (Foundation, Intermediate, Advanced).
(5 marks) CXC 31/G/SYLL 09 10

Viva Voce – 4 m ark s
Candidates will participate in a viva voce discussion on the material presented. The Examiner may ask candidates to play a short excerpt from any of the pieces in the file. In addition to the two examination pieces, the following should be included in the file.
1. A minimum of four (additional) solo pieces.
2. A minimum of two (additional) ensemble pieces.
CONDUCT OF THE EXAMINATION
1. An External Examiner will conduct the examination.
(4 marks)
2. The examination centre must be prepared prior to the examination. The room must be free from all noise and visible distractions. The teachers must be present throughout the examination to monitor the candidate’s and provide clarifications as needed by the Examiner. Candidates should enter the examination equipped with all the materials needed.
3. The demands of music chosen to illustrate the candidate’s level of competence should be indicated as one of three levels – Foundation, Intermediate or Advanced (see pages12-13).
LEVELS OF COMPETENCE
Candidates’ performance will be assessed on one of three levels of competence or standards of performance. A t re g i s t ra t i on , e a ch ca n d i d a t e i s re q u i re d t o i n d i ca t e t h e l e v e l of com p e t e n ce ( F ou n d a t i on or In t er m ed i a t e o r A d v a n c ed ) h e o r s h e w i l l p er f o r m a t t h e p r a c t i c a l ex a m i n a t i o n . A description of each level of competence, is provided below.
‘Levels of competence’ applies to the PERF profile only, and in no way affects the LIAP or COMP profiles.
The correct level of competence must be entered on the PERF mark sheet. The examiner has the final responsibility to determine the candidate’s level, in spite of what may have been entered on the candidate’s file by the teacher. The level is determined by the repertoire presented for examination, and not necessarily by teacher or candidate preference or choice. If a candidate identified as advanced or intermediate presents a foundation repertoire, then the candidate is foundation; if a candidate identified as elementary or intermediate presents an advanced repertoire, then the candidate is advanced, and so on.
Scoring Different Levels
Each level will be marked by its own merits. A candidate will not be marked DOWN or UP because of a level. No extra credit will be given for performing music that is more challenging than the defined advanced level.
A foundation candidate has the potential to earn full marks for a perfect performance of a foundation repertoire. An intermediate candidate has the potential to earn full marks for a perfect performance of an intermediate repertoire. An advanced candidate has the potential to earn full marks for a perfect performance of an advanced repertoire. CXC 31/G/SYLL 09 11

The following weighting factors will be electronically applied during the final grading process, to distinguish between levels:
Foundation Factor = 0.6 Intermediate Factor = 0.8 Advanced factor = 1.0
LEVELS OF COMPETENCE
Levels and
Instruments
Foundation
Basic technical skills on the instrument (descant or treble)
ABRSM Grade 2 minimum
Intermediate
Moderate technical skills on the instrument (descant or treble)
ABRSM Grade 3 & 4
Advanced
Competent technical skills covering the full normal range of the instrument (descant or treble)
ABRSM Grade 5 and above
Recorder
• Range: Middle C to 5th - line F
• Keys: Zero to two sharps and one flat (major/minor)
• Articulation and
expression: Staccato, legato, scalar slurs; sustained clear even tone; simple phrasing and dynamics
• Range: Middle C to top G
• Keys: Zero to three sharps and three flats (major/minor)
expression: slurs over three and four pitches; semi-quaver passages, triplets, some syncopation; simple ornaments (for example, trills and mordents)
• Range: Middle C to top D
• Keys: Zero to four sharps and four flats (major/minor)
• Articulation and expression:
Wide variety of articulation and expression commensurate with the grade/level
Pan/Steel drum
• Range: Two octaves
• Keys: Zero to two
sharps and two flats (major/minor)
expression: sustained tones (roll), using both sticks to produce an even tone; single tones and occasional double tones; simple expressions and dynamic changes
• Range: Full range of the instrument
• Keys: Zero to four sharps
and four flats (major/minor)
expression: sustained single and double tones played legato; appropriate balance between melody and accompaniment; varied dynamics
• Range: Full range of the instrument
• Keys: Any Key
• Articulation and expression:
advanced technical dexterity when executing runs, scales and other passages;
• double tones; wide variety of
articulation and expression commensurate with grade/level CXC 31/G/SYLL 09 12

Levels and
Instruments
Foundation
Basic technical skills on the instrument (descant or treble)
ABRSM Grade 2 minimum
Intermediate
Moderate technical skills on the instrument (descant or treble)
ABRSM Grade 3 & 4
Advanced
Competent technical skills covering the full normal range of the instrument (descant or treble)
ABRSM Grade 5 and above
Voice
• Range: Pitch accurately and clearly over the range of a ninth
• Keys: Pitch intervals
in a major scale as used in a song
• Range: Pitch accurately and clearly over the range of a tenth
• Keys: Sing with controlled,
even tone descending and ascending major and minor scales and arpeggios; Sing accurately leaps of a 6th and octave
• Range: Execute a wide range of pitches with purity of resonant tone
• Keys: Sing descending and
ascending major and minor scales and arpeggios with clear even tone; Sing a wide variety of intervals, making smooth transition between voice placements
Levels and
Instruments
Foundation
Intermediate
Advanced
• Articulation and expression: Sing melodies with legato phrasing of moderate length showing sensitivity to dynamics; breathe from the diaphragm, showing sensitivity to phrasing; enunciate clearly
• Articulation and expression: Breathe and phrase appropriately; sustain tones and show sensitivity to dynamics; Sing legato and staccato; Sing melodies with simple modulation and occasional chromatic tones; Sing simple melisma show some understanding of musical styles and moods
• Articulation and expression: Project voice and display vocal agility; enunciate clearly to convey understanding of musical styles and moods; execute chromatic and melismatic passages, with or without modulations
NB:
(1) The descriptions given for the three instruments in this section constitute exemplar
material only: that is, they are a guide to teacher for the selection of examination repertoire spanning a wide range of instruments. Other instruments may be benchmarked against the graded examination repertoire of the Associated Board of the Royal Schools of Music (ABRSM).
(2) No extra credit will be given for performing music that is more challenging than the defined
advanced level. CXC 31/G/SYLL 09 13

C. DESCRIPTION OF THE EXAMINATION IN COMPOSING (PAPER 02)
To fulfil the requirements of the composing component in Paper 02, candidates will be required to:
(i) present a file with two compositions of at least two minutes each, representing the candidate’s best work, scored and recorded in audio format (compact disc or standard cassette) (20 x 2=40 marks);
Co m p o s i t i o n O n e should show the Candidate’s ability to use at least two of the following elements.
- timbre
- texture
- melody
- harmony
- articulation
Dynamics and tempo should be used for creative advantage, and extra-musical stimuli may be employed to generate ideas for the piece.
Co m p o s i t i o n T w o should show the candidate’s ability to ar ra n g e a folk or popular melody for two or more voices or instruments or combination of these with emphasis on melodic, rhythmic and harmonic ideas. Dynamics and tempi should be used to creative advantage.
(ii) engage in a viva voce discussion during which the candidates will reflect on and discuss elements of the composing process with the Examiner. (4 marks)
GUIDELINES FOR SUBMISSION OF FILES
Submit the following:
1. The score and audio recording of the arrangement
2. The original composition of the arrangement in the composing file The following information must be included in the file:
• candidates number
• centre
• name and title of composition
• candidates name
One of the two compositions must be presented in a live performance during the practical examination. CXC 31/G/SYLL 09 14

◆REGULATIONS FOR RESIT CANDIDATES
1. Resit candidates must complete Papers 01 and 02 of the examination for the year for which they re-register.
Resit candidates who have earned 50% of the MODERATED score for the SBA component may elect not to repeat this component, provided they re-write the examination no later than the year following their first attempt. The scores for the SBA can be transferred once only, that is, to the examination immediately following that for which they were obtained.
2. Resit candidates who have obtained less than 50% of the MODERATED scores for the SBA component must repeat the component at any subsequent sitting.
3. Resit candidates must be entered through a school or other approved educational institution.
◆REGULATIONS FOR PRIVATE CANDIDATES
1. Private candidates must be entered through institutions recognised by the Council.
2. Private candidates will be required to complete all aspects of the examination (Papers 01, 02 and 03).
3. The SBA activities of private candidates must be monitored by tutors in the institution through which they register.
4. Private candidates must submit their own work, which must be validated by their tutors. CXC 31/G/SYLL 09 15

◆PROFILE DIMENSION: LISTENING AND APPRAISING (LIAP)
GE N E R A L O B J E C TI V E
St u d e n t s s h o u l d l i s t e n t o m u s i c o f d i f f e r e n t g e n r e s a n d b y r e f e r e n c e t o s t r u c t u r a l a n d ex p r es s i v e el em en t s a n a l y z e a n d a p p r a i s e t h em u s i n g a p p r o p r i a t e l a n g u a g e.
SP E C I F I C O B J E C T I V E S
Students should listen to music in order to:
1. identify rhythmic, melodic, harmonic, structural, timbral and expressive musical elements;
2. describe ways in which musical elements are utilised singly, or in combination, to create music of different genres and styles;
3. describe ways in which expressive elements, as well as timbral effects, are used in performance;
4. appraise musical composition and performance practice in social and historical contexts;
5. analyse and interpret a score to enhance the ability to listen and appraise.
CO N T E N T
1. Recognizing and responding to:
(a) metric patterns and rhythmic features in simple, compound and irregular metres;
(b) pitch movement, melodic patterns; major and minor tonality; pentatonic, whole-tone and chromatic patterns; atonality;
(c) consonance, dissonance; cadences; modulations;
(d) phrase length, repetition, contrast; variation, development; common formal and structural patterns;
(e) melodic, harmonic and timbral textures;
(f) solo instrumental or vocal timbres and registers; ensembles; other tone timbres (for example duets, sextets, bands, orchestras);
(g) dynamics, tempi, articulation and features of expression and interpretation;
(h) genres and styles.
Note: Make reference to pages 36 - 42 CXC 31/G/SYLL 09 16

LISTENING AND APPRAISING (cont’d)
2. Describing ways in which the features listed in (1) are utilised singly or in various combinations in popular, folk, classical, jazz and other musical genres.
3. Investigating stylistic characteristics within socio-cultural contexts by reference to musical elements, for example, rhythm, melody, harmony, timbre.
4. Using translative skills (score reading) to enhance listening and appraising.
TEACHING GUIDELINES FOR LISTENING AND APPRAISING
Within the Listening and Appraising profile dimension teachers should:
1. expose students to a range of genres - folk, gospel, western art (classical), popular, jazz;
2. guide students in identifying and describing structural and expressive elements and also to discuss how these features differentiate genres and styles. This will require careful selection before hand, of music that will enable students to focus on the objectives of the Listening and Appraising (LIAP) exercise;
3. provide opportunities for students to develop an understanding of the social and historical contexts that influence the creation and performance of the different genres and styles of music. This could be effectively done through collaboration with other teachers, individual or small group research assignments or projects that are shared and discussed in class;
4. encourage students at all times to use appropriate musical vocabulary in discussing and appraising music. The musical vocabulary given in Appendix I of the syllabus indicates the general nature of the materials on which candidates will be tested. CXC 31/G/SYLL 09 17

◆PROFILE DIMENSION: PERFORMING (PERF)
GE N E R A L O B J E C TI V E
St u d e n t s s h o u l d develop the ability to perform vocal or instrumental music, displaying understanding of and sensitivity to musical structure and style.
SP E C I F I C O B J E C T I V E S
Students should be able to:
1. display technical competence and structural awareness when performing;
2. exhibit ensemble skills;
3. perform from scores or other visual representations commensurate with their level of technical competence;
4. perform selected pieces (vocal and instrumental) displaying ability to sustain a performance using musical elements expressively.
CO N T E N T
1. Performing a variety of pieces that display manipulative skills and convey musical expression.
2. Exhibiting technical competence and accuracy in performing scales and arpeggios.
3. Critiquing their own performance and that of others by reference to agreed standards and musical criteria.
4. Demonstrating the ability to perform alone and with others, by responding to cues and symbols, making adjustments in relation to balance, and maintaining an independent part when required.
TEACHING GUIDELINES FOR PERFORMING
1. The programme of study in performing should introduce candidates to a variety of pieces in different styles and idioms. Selection of pieces for the examination should relate to the candidate’s aptitude and technical competence.
2. Candidates should be given opportunities to acquire a repertoire of music beyond the limited number of exercises, pieces, scales and arpeggios specified for the examination. Repertoire provided for the candidates should enable them to achieve musical growth and thereby become more technically and musically competent.
3. Candidates should have at least one lesson per week on the chosen principal instrument offered for examination.
4. Assigned technical studies should address specific weaknesses displayed by candidates and should be considered as a means of enabling candidates to perform pieces with confidence and fluency. CXC 31/G/SYLL 09 18

5. Although sight-reading is not required as part of the examination, teachers should underscore its importance by including it as a regular component of both the individual lesson and the ensemble sessions.
6. Regular rehearsals should be scheduled for ensemble performance in which teachers ensure that candidates have independent parts, thus enabling them to maintain independence, while performing in a group. The teachers are encouraged to adapt and arrange scored pieces for this purpose.
7. Ensemble members who perform with the candidate need not be also sitting the examination.
8. In ensemble pieces for TWO players only, each of the parts should be of comparable technical demand.
9. Teachers should provide continuous assessment for all candidates and ensure that they are well prepared for the examination.
10. Teachers should provide opportunities for candidates to perform for their peers and for others within the school community. Involvement in school performances is aimed at developing confidence in performing for an audience and developing auditory skills in order to make critical judgements.
11. Assignments that allow candidates to critique school performances should be given, thereby sharpening candidates’ listening skills and analytical ability by making reference to structural, expressive and other features of the music to which they are exposed. CXC 31/G/SYLL 09 19

◆PROFILE DIMENSION: COMPOSING
GENERAL OBJECTIVE
S tu d e n ts sh o u ld d e v e lo p th e a b ility to se le c t a n d se q u e n c e so u n d in o r d e r to e x p r e ss a n d co m m u n i ca t e m u s i ca l i d e a s , t h o u g h t s a n d f e e l i n g s , w h i ch i n cl u d e a d d i n g n e w p a rt s o r i d e a s t o an e xi s t i ng p i e c e ( ar r ang i ng ) , as w e l l as s p o nt ane o u s l y e xp e r i m e nt i ng w i t h ne w i de as , w hi l e in th e a c t o f p e r fo r m in g (im p r o v isin g ).
SPECIFIC OBJECTIVES
Students should be able to:
1. manipulate a variety of sounds and sound sources, including digital devices, to express original ideas, thoughts and feelings;
2. use musical elements to achieve aesthetic outcomes;
3. use compositional devices found in music of different genres;
4. use notation, electronic and digital technologies to create/record (score or audio) and present their own compositions.
CO N T E N T
1. Using musical stimuli (for example, rhythmic and melodic motives, harmonic progressions, tone colours) to generate ideas for compositions.
2. Using extra-musical stimuli (for example, visual arts, literary works, nature scenes) to generate ideas for compositions.
3. Composing pieces that reflect sensitivity to balance, structure, unity and style in relation to selected stimuli.
4. Creating original compositions in different styles (Caribbean and other).
5. Arranging selected materials (Caribbean and other), carrying out changes that clearly reflect a creative input.
6. Recording of compositions using digital, traditional or alternative notation, as well as digital or electronic devices. CXC 31/G/SYLL 09 20

TEACHING GUIDELINES FOR COMPOSING
Within the Composing profile dimension, it is expected that teachers should provide students with opportunities to:
1. explore a wide range of sounds by listening to and manipulating various sound sources, sound makers and instruments (classroom, folk, electronic, orchestral and improvised);
2. become familiar with compositional devices such as riff or ostinato, call and response, common harmonic progressions, syncopation, rhythmic and melodic motives, regular and irregular metres;
3. develop the discipline and other personal skills required to work independently or within a group to discuss ideas, make decisions, and critically appraise the products of their creative efforts;
4. experiment with various ways of appropriately and accurately recording or notating their compositions to allow for easy access to their work.
In supervising students in the process of composing, the teacher assumes the roles of: Facilitator
The teacher should provide a framework within which guided exploration of musical ideas can take place. The teacher should foster a non-competitive atmosphere in which candidates can explore new ideas with confidence.
Guide
Teachers should expose candidates to music of different styles and idioms, pointing to their distinctive features. Part of the teacher's role is to act as critic by examining and discussing the candidates' work without necessarily making a value judgement. Candidates should be encouraged to develop broad musical tastes and the desire to explore unfamiliar materials independently.
Musical Model
The teacher must provide technical expertise to guide the process of composing by drawing upon personal musical knowledge, skills and experience. The teacher also has the responsibility to be musically active and to assume a participatory role in classroom composing.
Classroom Manager
It is the responsibility of the teacher to manage the process of composing by setting targets and guidelines for candidates. Candidates must be encouraged to conform to a discipline that will gear them toward presenting measured and timely output of work leading to the final compilation of their files. The teacher must also sensitise candidates to the procedure of the examination and give specific assistance in preparing for it. For example, audio-tapes, CDs and cassettes must be properly labelled and cued for listening - it is preferable that, apart from printed labels, candidates identify themselves and their compositions at the beginning of the audio recording.
The SBA should commence by November of the first year of study. CXC 31/G/SYLL 09 21

◆ASSESSMENT CRITERIA
PAPER 02 – PERFORMING AND COMPOSING (34 %)
A. PERFORMING (PERF) (24 marks)
Candidates will:
1. demonstrate manipulative skills and convey musical expression;
2. display technical competence and accuracy in performing scales and arpeggios from memory;
3. critique their own performance and that of others with reference to agreed standards and musical criteria;
4. demonstrate sensitivity to musical structure and balance in performing with others in an ensemble. Criteria for skill assessed: Performing (PERF) – Paper 02
So l o P e r f o r m a n c e ( 1 5 m a r k s )
LEV EL OF AB I LI T Y
MA R K S
AS S E S S M E N T C RI T E RI A
Outstanding
12 – 15
In performing a solo item the candidate:
-‐ displays a high level of accuracy in rhythm and pitch.
-‐ displays a high level of musicality in interpreting: tempo, dynamics and phrasing.
-‐ demonstrates a highly effective technique and tone quality.
-‐ demonstrates a high level of understanding of the style of the piece.
Good
9 – 11
-‐ displays a good level of accuracy in rhythm and pitch.
-‐ displays a good level of musicality in interpreting: tempo, dynamics and phrasing.
-‐ demonstrates a good level of technique and tone quality.
-‐ demonstrates a good level of understanding of the style of the piece.
Fairly Good
7 – 8
-‐ displays a reasonable level of accuracy in rhythm and pitch.
-‐ displays a reasonable level of musicality in interpreting: tempo, dynamics and phrasing.
-‐ demonstrates a reasonable level of technique and tone quality.
-‐ demonstrates a reasonable level of understanding of the style of the piece. CXC 31/G/SYLL 09 22

MA R K S
Moderate
5 – 6
-‐ displays an adequate level of accuracy in rhythm and pitch.
-‐ displays an adequate level of musicality in interpreting: tempo, dynamics and phrasing.
-‐ demonstrates an adequate level of technique and tone quality.
-‐ demonstrates an adequate level of understanding of the style of the piece.
Limited
2 – 4
-‐ displays several inaccuracies in rhythm and pitch.
-‐ displays a limited level of musicality in interpreting: tempo, dynamics and phrasing.
-‐ demonstrates a limited level of technique and poor tone quality. demonstrates a limited level of understanding of the style of the piece.
Very Limited
Less than 2
-‐ displays many inaccuracies in rhythm and pitch.
-‐ displays poor level of musicality in interpreting: tempo, dynamics and phrasing.
-‐ demonstrates a very limited level of technique and very poor tone quality.
-‐ demonstrates no understanding of the style of the piece.
Sc a l e a n d A r p e g g i o s / T e c h n i c a l St u d y ( 5 m a r k s )
Ma r k s
Le v e l o f Ab i l i t y
As s e s s m e n t C r i t e r i a
5
Outstanding
Very fluent and accurate
4
Good
Accurate but could be more fluent
3
Competent
Mostly accurate, lacks fluency
2
Moderate
Some inaccuracies; lacks fluency
1
Limited
Too many inaccuracies
0
Very limited
Non-delivery
Vi v a Vo c e ( P e r f o r m i n g ) ( 4 m a r k s )
Ma r k s
Ra t i n g
4
Outstanding
Very clear, accurate and convincing commentary on any item in the file
3
Good
Very clear and accurate commentary on any item in the file
2
Competent
Clear commentary on any item in the file
1
Limited
Weak commentary on any item in the file
0
Very Limited
Inadequate commentary on any item in the file CXC 31/G/SYLL 09 23

B. CO M P O S I N G ( CO M P ) – P a p e r 0 2 ( 44 m ar k s )
Candidates will:
• use musical and extra musical stimuli to generate ideas for compositions;
• compose pieces reflecting sensitivity to balance;
• create original compositions using different styles;
• arrange selected materials;
• record their own compositions (score and audio); Criteria for skill assessed: Composing (COMP) – Paper 02 Co m p o s i t i o n - O r i g i n a l ( 2 0 m a r k s e a c h )
MA R K S
Outstanding
16 – 20
Candidate’s composition demonstrates:
-‐ highly imaginative use of musical/extra musical stimuli in developing original compositional ideas
-‐ excellent sense of structure and unity
-‐ excellent exploitation of vocal and instrumental forces to effectively express musical ideas
-‐ highly creative manipulation of at least TWO musical elements as compositional features
-‐ highly effective use of expressive elements (tempo, dynamics and articulation)
-‐ excellent interpretation of the elements of specific genre and style
-‐ excellent use of scoring, recording and reflection
Good
13 – 15
-‐ imaginative use of musical/extra musical stimuli in developing original compositional ideas
-‐ strong sense of structure and unity
-‐ good exploitation of vocal and instrumental forces to effectively express musical ideas
-‐ creative manipulation of at least TWO musical elements as compositional features
-‐ effective use of expressive elements (tempo, dynamics and articulation)
-‐ good interpretation of the elements of specific genre and style
-‐ good use of scoring, recording and reflection
Fairly Good
11 – 12
-‐ fairly imaginative use of musical/extra musical stimuli in developing original compositional ideas
-‐ reasonable sense of structure and unity
-‐ fairly good exploitation of vocal and instrumental forces to effectively express musical ideas CXC 31/G/SYLL 09 24

MA R K S
-‐ fairly creative manipulation of at least TWO musical elements as compositional features
-‐ fairly effective use of expressive elements (tempo, dynamics and articulation)
-‐ workable interpretation of the elements of specific genre and style fairly good use of scoring, recording and reflection
Moderate
8 – 10
-‐ adequate use of musical/extra musical stimuli in developing original compositional ideas
-‐ adequate sense of structure and unity
-‐ adequate exploitation of vocal and instrumental forces to effectively express musical ideas
-‐ some attempt to manipulate at least TWO musical elements as compositional features
-‐ some use of expressive elements (tempo, dynamics and articulation)
-‐ some evidence of interpretation of the elements of specific genre and style
-‐ adequate use of scoring, recording and reflection
Limited
4 – 7
-‐ mechanical use of musical/extra musical stimuli in developing original compositional ideas
-‐ inadequate sense of structure and unity
-‐ limited exploitation of vocal and instrumental forces to effectively express musical ideas
-‐ negligible focus on musical elements as compositional features
-‐ limited use of expressive elements (tempo, dynamics and articulation)
-‐ limited evidence of interpretation of the elements of specific genre and style
-‐ weak use of scoring, recording and reflection
Very Limited
0 – 3
-‐ unimaginative use of musical/extra musical stimuli in developing original compositional ideas
-‐ no clear sense of structure and unity
-‐ very limited exploitation of vocal and instrumental forces to effectively express musical ideas
-‐ no specific focus on any musical elements as compositional features
-‐ absence of the use of expressive elements (tempo, dynamics and articulation)
-‐ no evidence of interpretation of the elements of specific genre and style
-‐ poor use of scoring, recording and reflection CXC 31/G/SYLL 09 25

Co m p o s i t i o n – A r r a n g e m e n t ( 2 0 m a r k s )
MA R K S
AS S E S S M E N T C R I TE R I A
Outstanding
16 – 20
-‐ highly imaginative use of musical/extra musical stimuli in developing original compositional ideas
-‐ excellent sense of structure and unity
-‐ effective exploitation of vocal and instrumental forces to effectively express NEW musical ideas
-‐ highly creative manipulation of at least TWO musical elements as compositional features
-‐ excellent interpretation of expressive elements (tempo, dynamics and articulation)
-‐ excellent interpretation and creative manipulation of the elements of specific genres/styles
-‐ excellent use of scoring, recording and reflection
Good
13 – 15
-‐ imaginative use of musical/extra musical stimuli in developing original compositional ideas
-‐ strong sense of structure and unity
-‐ good exploitation of vocal and instrumental forces to effectively express NEW musical ideas
-‐ creative manipulation of at least TWO musical elements as compositional features
-‐ effective interpretation of expressive elements (tempo, dynamics and articulation)
-‐ good interpretation and creative manipulation of the elements of specific genres/styles
-‐ good use of scoring, recording and reflection
Fairly Good
11 – 12
-‐ fairly imaginative use of musical/extra musical stimuli in developing original compositional ideas
-‐ reasonable sense of structure and unity
-‐ fairly good exploitation of vocal and instrumental forces to effectively express NEW musical ideas
-‐ fairly creative manipulation of at least TWO musical elements as compositional features
-‐ fairly good interpretation of expressive elements (tempo, dynamics and articulation)
-‐ workable interpretation and creative manipulation of the elements of specific genres/styles
-‐ fairly good use of scoring, recording and reflection CXC 31/G/SYLL 09 26

MA R K S
AS S E S S M E N T C R I TE R I A
Moderate
8 – 10
-‐ adequate use of musical/extra musical stimuli in developing original compositional ideas
-‐ adequate sense of structure and unity
-‐ adequate exploitation of vocal and instrumental forces to effectively express NEW musical ideas
-‐ some attempt to manipulate at least TWO musical elements as compositional features
-‐ some use of expressive elements (tempo, dynamics and articulation)
-‐ some evidence of interpretation and creative manipulation of the elements of specific genres/styles
-‐ adequate use of scoring, recording and reflection
Limited
4 – 7
-‐ mechanical use of musical/extra musical stimuli in developing original compositional ideas
-‐ inadequate sense of structure or unity
-‐ limited exploitation of vocal and instrumental forces to effectively express NEW musical ideas
-‐ negligible focus on musical elements as compositional features
-‐ limited interpretation of expressive elements (tempo, dynamics and articulation)
-‐ limited evidence of interpretation or creative manipulation of the elements of specific genres/styles
-‐ weak use of scoring, recording and reflection
Very Limited
0 – 3
-‐ unimaginative use of musical/extra musical stimuli in developing original compositional ideas
-‐ no clear sense of structure or unity
-‐ very limited exploitation of vocal and instrumental forces to effectively express NEW musical ideas
-‐ no specific focus on any musical elements as compositional features
-‐ absence of use of expressive elements (tempo, dynamics and articulation)
-‐ no evidence of interpretation or creative manipulation of the elements of specific genres/styles
-‐ poor use of scoring, recording and reflection CXC 31/G/SYLL 09 27

Vi v a Vo c e ( Co m p o s i n g ) ( 4 m a r k s )
Ma r k s
Ra tin g
4
Outstanding
Very clear, accurate and convincing commentary on any item in the file
3
Good
Very clear and accurate commentary on any item in the file
2
Competent
Clear commentary on any item in the file
1
Limited
Weak commentary on any item in the file
0
Very Limited
Inadequate commentary on any item in the file CXC 31/G/SYLL 09 28

◆SCHOOL BASED ASSESSMENT
School Based Assessment (SBA) is an integral part of students’ assessment in the course covered by this syllabus. It is intended to assist students in acquiring knowledge, skills and attitudes that are critical to the subject. The activities for the SBA are linked to the syllabus and should form part of the learning activities to enable the students to achieve the objectives of the syllabus.
During the course of study, students obtain marks for the competence they develop and demonstrate these in their SBA assignments. These marks contribute to the final marks and grades that are awarded to students for their performance in the examination.
The guidelines provided for selecting appropriate tasks are intended to assist teachers and students in selecting assignments that are valid for the purpose of the SBA. The assessment criteria (pages 32 - 35) are intended to assist teachers in awarding marks according to their achievement in the SBA component of the course. In order to ensure that the scores awarded by teachers are in line with CXC standards, the Council undertakes the moderation of a sample of SBA assignments marked by teachers.
The School Based Assessment provides an opportunity to individualise a part of the syllabus to meet the needs of students. It facilitates feedback to the students at various stages of the experience. This helps to build the self-confidence of the students as they proceed with their studies. The SBA further facilitates the development of essential investigative and practical skills that allow the student to function more effectively in his or her chosen vocation. The SBA, therefore, makes a significant and unique contribution to the development of relevant skills of the students. It also provides an instrument that is a basis for testing and rewarding students’ achievement.
The assessments should be made in the context of normal practical coursework exercises. Assessments should only be made after candidates have been taught the skills and given enough opportunity to develop them. Skills that are not being assessed for CXC at a particular time should, therefore, not be neglected.
DESCRIPTION OF SBA AS S I G N M E N T S
The SBA comprises two profiles:
a. LIAP
b. PERF
1. LIAP
Candidates will undertake a project based on ONE of the following activities:
(a) Musical Performance: Record on audio tape or compact disc (CD) the music (20-30 minutes in duration) presented in a live performance. Include the rationale for selection of the performance and background data on the performers/performance. Compare and contrast the structural and expressive elements and comment on the socio-cultural significance of the music.
(b) Musical Advertisements: Record on audio tape or compact disc (CD) from radio or television Eight (8) musical advertisements. Analyze the structural and expressive CXC 31/G/SYLL 09 29

elements of the music and comment on its socio-cultural significance with reference to the effectiveness of its appeal.
(c) Caribbean Performer or Composer: Investigate the music of a prominent Caribbean performer or composer by interviewing the artiste to gain information on career development, influences, method and mode of performing or composing and achievements. Record on audio tape or compact disc (CD) works (10-20 minutes in duration) by this performer or composer. Analyse the music in terms of their structural and expressive elements and comment on its socio-cultural significance.
2. PERF
Candidates are required to undertake the following activities:
(a)
(i)
One Solo Performance (PERF)
Sing or play one selected solo piece from any musical genre (2–4 minutes). This
performance must differ in sty le , te m p o and ke y from the one performed for the Paper
02 examination; be of sufficient length and challenge to represent the candidates' level of competence (Foundation, Intermediate or Advanced);
(ii)
One Scale and Arpeggio
Sing or play one scale and arpeggio (major or minor) or present one technical study. The scale and arpeggio should be in the key of the solo piece.
(2 0 M a r k s)
(b) One Ensemble (PERF)
One instrumental or vocal piece performed in a group (ensemble – a minimum of two (2) performers) for 3–5 minutes. The candidate being examined must perform a clear and distinguishable role in the group.
(1 2 m a r k s)
GUIDELINES FOR MONITORING SBA AS S I G N M E N T S
1. Teachers should explain and discuss in detail with the candidates, the requirements necessary for successful completion of each assignment before the candidates make their choice.
2. Consideration for the candidates’ musical skills and interest as well as the musical groups or events in a community should form the basis for guiding candidates in their choice of assignments.
3. Where the assignment involves working with public institutions or individuals, then an official letter should be provided to support the candidate’s request.
4. Candidates should be helped to set tasks or goals and work out a time frame within which these can be achieved.
5. Teachers should help candidates to apply the musical skills and understandings gained in the programme to the SBA assignment. CXC 31/G/SYLL 09 30

6. The assignment should be monitored on a regular basis throughout the period, up to their completion, by the teacher, thereby ensuring that candidates follow a developmental process and meet the official deadline.
7. Assignments should be concise, but carefully compiled to show the candidates’ interpretation of musical knowledge, as well as their research and reporting skills.
8. Recordings submitted on microcassettes, DVDs, videotapes and minidisc will NO T be marked. The acceptable formats are standard audio cassettes or CDs.
◆DETAILED SBA MARK SCHEME
1. Ass i g n m e n t ( LIAP) – ( 2 0 m a r k s ) ASSIGNMENT I – MUSICAL PERFORMANCE
ASSIGNMENT II – ADVERTISEMENTS
ASSIGNMENT III – CARIBBEAN PERFORMER OR COMPOSER
Marking Scheme
i. In t r o d u c t i o n (3 m a r k s)
(a) Rationale and method for selection of musical performance, performer or composer or advertisements
1 mark
(b) Background information 2 marks
ii. Mu s i c a l A n a l y s i s (1 5 m a r k s)
(a) Instrumentation – vocal and instrumental forces used in the presentation 2 marks
(b) Analysis of the music with reference to structural and expressive elements – for example, melodic and rhythmic ideas, dynamics, form
10 marks
(c) Comment on the socio-cultural significance of the music to the target audience 3 marks
iii. Pr e s e n t a t i o n (2 m a r k s)
(a)
Organization of ideas
1 mark
(b)
Effectiveness of use of recording to support analysis
1 mark
TO TA L 20
MA R K S CXC 31/G/SYLL 09 31

2. (a)(i) Sol o P e r f o rma n ce ( P E R F ) – ( 1 5 m a r k s )
MA R K S
Outstanding
12 – 15
-‐ displays a high level of accuracy in rhythm and pitch
-‐ displays a high level of musicality in interpreting: tempo, dynamics and phrasing
-‐ demonstrates a highly effective technique and tone quality
-‐ demonstrates a high level of understanding of the style of the piece
Good
9 – 11
-‐ displays a good level of accuracy in rhythm and pitch
-‐ displays a good level of musicality in interpreting: tempo, dynamics and phrasing
-‐ demonstrates a good level of technique and tone quality
-‐ demonstrates a good level of understanding of the style of the piece
Fairly Good
7 – 8
-‐ displays a reasonable level of accuracy in rhythm and pitch
-‐ displays a reasonable level of musicality in interpreting: tempo, dynamics and phrasing
-‐ demonstrates a reasonable level of technique and tone quality
-‐ demonstrates a reasonable good level of understanding of the style of the piece
Moderate
5 – 6
-‐ displays an adequate level of accuracy in rhythm and pitch
-‐ displays an adequate level of musicality in interpreting: tempo, dynamics and phrasing
-‐ demonstrates an adequate level of technique and tone quality
-‐ demonstrates an adequate level of understanding of the style of the piece
Limited
2 – 4
-‐ displays several inaccuracies in rhythm and pitch
-‐ displays a limited level of musicality in interpreting: tempo, dynamics and phrasing
-‐ demonstrates a limited level of technique and poor tone quality
-‐ demonstrates a limited level of understanding of the style of the piece CXC 31/G/SYLL 09 32

MA R K S
Very Limited
Less than 2
-‐ displays many inaccuracies in rhythm and pitch
-‐ displays poor level of musicality in interpreting: tempo, dynamics and phrasing
-‐ demonstrates a very limited level of technique and very poor tone quality
-‐ demonstrates no understanding of the style of the piece
(a )(ii) Sca l e a n d A r p e g g i o s / T e c h n i c a l Stu d y ( 5 m a r k s )
Ma r k s
5
Outstanding
Very fluent and accurate
4
Good
Accurate but could be more fluent
3
Competent
Mostly accurate, lacks fluency
2
Moderate
Some inaccuracies; lacks fluency
1
Limited
Too many inaccuracies
0
Very limited
Non-delivery
(b ) Ens e mbl e P e r f o r man c e ( P ERF) ( 1 2 m a r k s )
Ma r k s
Outstanding
10 – 12
In presenting an ensemble item the candidate:
-‐ displays a high level of accuracy in rhythm and pitch/timbre
-‐ displays a high level of musicality interpreting: tempo, dynamics and phrasing
-‐ demonstrates a high level of sensitivity to cues, coordination and balance
-‐ demonstrates a high level of understanding of the style of the piece
Good
8 – 9
-‐ displays a good level of accuracy in rhythm and pitch/timbre
-‐ displays a good level of musicality interpreting: tempo, dynamics and phrasing
-‐ demonstrates a good level of sensitivity to cues, coordination and balance
-‐ demonstrates a good level of understanding of the style of the piece
Fairly Good
7
-‐ displays a reasonable level of accuracy in rhythm and pitch/timbre
-‐ displays a reasonable level of musicality interpreting: tempo, dynamics and phrasing CXC 31/G/SYLL 09 33

Ma r k s
-‐ demonstrates a reasonable level of sensitivity to cues, coordination and balance
-‐ demonstrates a reasonable level of understanding of the style of the piece
Moderate
5 – 6
-‐ displays an accurate level of accuracy in rhythm and pitch/timbre
-‐ displays an accurate level of musicality interpreting: tempo, dynamics and phrasing
-‐ demonstrates an accurate level of sensitivity to cues, coordination and balance
-‐ demonstrates an accurate level of understanding of the style of the piece
Limited
2 – 4
-‐ displays several inaccuracies in rhythm and pitch/timbre
-‐ displays a limited level of musicality interpreting: tempo, dynamics and phrasing
-‐ demonstrates a limited level of sensitivity to cues, coordination and balance
-‐ demonstrates a limited level of understanding of the style of the piece
Very Limited
0 – 1
-‐ displays many inaccuracies in rhythm and pitch/timbre
-‐ displays a poor level of musicality interpreting: tempo, dynamics and phrasing
-‐ demonstrates a very limited level of sensitivity to cues, coordination and balance
-‐ demonstrates no understanding of the style of the piece CXC 31/G/SYLL 09 34

SUBMISSION OF SBA MARKS
By 1st April in the year of the examination, teachers should record candidates’ marks for each assignment on the mark sheet provided by CXC. These are to be submitted electronically to CXC.
The assignments used for the School Based Assessment should NOT be sent to the Local Registrar but be retained by the school in a secure place until the examination is completed and grades issued.
MO D E R A T I O N O F S C H O O L B A S E D A S S E S S ME N T
The reliability (consistency) of the marks awarded by the teachers on the SBA is an important characteristic of high quality assessment. To assist in this process, the Council will undertake on-site moderation of the SBA. The External Moderators will moderate th e so lo pe r f or m a n c e and th e e n se m b le of a sample of five candidates, chosen in accordance with the Council’s guidelines.
On-site moderation will be conducted during the months of April in the year of the examination.
Teachers must make available to the External Moderators ALL Assessment Sheets (Record of Marks for Music). Te a c h e r s a r e n o t r e q u i r e d t o s u b m i t s a m p l e s o f c a n d i d a t e s ’ w o r k , u n l e s s s p e c i f i c a l l y r e q u e s t e d to d o so b y th e C o u n c il. CXC 31/G/SYLL 09 35

◆MUSIC VOCABULARY
El e me n t s o f M u s i c
RH Y T H M Du r a t i o n Me t r e A cce n t s note values time signature pulse
rest values simple duple beat
dotted rhythm simple triple syncopation
triplet, duplet simple quadruple
off-beat
pause compound duple cross rhythms
silence compound triple polyrhythms
phrase length and shape
compound quadruple regular metre
marcato
phrase structure irregular metre
tala (Indian) mixed metres
PI T C H No t a t i o n Me l o d y Ha r m o n y
pitch positions succession of notes
sounding together of
(treble and Bass clef)
movement by step,
two or more notes (major and minor)
traditional names leap, repeats Interval
(perfect, augmented, diminished)
staves, clefs melodic intervals
consonance
A, B, C, D, E, F, G
phrase dissonance
accidentals phrase structure modal, atonal sharp, flat, natural melodic shape,
bar, single and double bar lines key signatures
melodic rhythm contour
embellishments Tr i a d s ,
C ho r ds :
time signatures ornaments chords built
upon notes
indefinite Ar t i c u l a t i o n of the scale:
pitch/graphic notation
staccato legato
root
first inversion CXC 31/G/SYLL 09 36

PI T C H ( c o n t ’ d )
Sc a l e s
diatonic major and
minor chromatic pentatonic whole-tone, tone row
blues scale
raga
ad lib rubato
glissando pitch bend meend vibrato
slur slide
dominant seventh, inversions in major
and minor keys
Ca d e n c e s :
perfect, imperfect, plagal,
interrupted
circle of fifths
bend
transposition
modulation to
Te c h n i c a l
subdominant,
nam e s o f
dominant
pi t c h e s i n a
ke y:
tonic,
relative major,
or minor
Supertonic
chord
progression
Mediant
pedal, drone,
ostinato
Subdominant
Dominant
Submediant
leading note
EX P R ES S I O N
Dy n am i c s
Dy n a m i c
Ar t i c u l a t i o
sy m b o ls
Ar t i c u l a t i o n
pianissimo
pp
legato
Te m p o
piano
p
staccato
Or n a me n t a t i o n
fortissimo
ff
sforzando
forte
moderately soft
f
mp
subito
tremolo
moderately loud
mf
roll
crescendo
decrescendo or
diminuendo
CXC 31/G/SYLL 09 37

EX P R ES S I O N ( c o n t ’ d ) Or n a me n t a t i o n
grace notes trill
mordent, turn
Te m p o Adagio Largo, Lento Andante
arpeggiation Moderato
Allegro, Allegretto Vivace Presto accelerando ritardando rubato
ad lib
TI M B R E
IN S T R U M E N T A T IO N
Vo c a l
Treble soprano alto tenor bass
falsetto baritone
St r i n g s
orchestral strings
Vo c a l
Co m b i n a t i o n s a capella
soloist, duet trio, quartet ensemble choir - male, female
and mixed choir back-ups, chorus
Wo o d w i n d flute, clarinet,
Br a s s trumpet, french
Pe r c u s s i o n assorted drums
oboe,
horn,
-
harp
bassoon,
trombone, tuba
African -
saxophone
djembe,
guitar
recorder
cutter, bass,
master
cuatro
mouthorgan,
In s t r u m en t a l
drum, conga,
bongo
mandolin
harmonica
Co m b i n a t i o n s
talking drum
sitar
solo, duet, trio,
Indian-tabla,
tassa
El e c t r i c
quartet, quintet
drum set, snare,
side
electric guitar
ensemble, band
drum,
timbalities
bass guitar
chamber
timpani,
orchestra
triangle
electric piano
orchestra
iron, chimes
synthesiser
marimba,
xylophone
electric keyboard
In s t r u m en t a l
claves, wood
Ke y b o a r d
Te c h n i q u e s
block
piano,
strings -
maracas
harpsichord,
pizzicato
organ, synthesiser
CXC 31/G/SYLL 09 38

TI M B R E
IN S T R U M E N T A T IO N
(c o n t’ d )
arco, vibrato, sul, ponticello, sul tasto
St e e l P a n - tenor, soprano double tenor double second
double guitar, triple
double stopping cello,
quadraphonic muted sound tenor bass ,low
bass
Et h n o g r a p h i c Ca t e g o r i e s O f In s t r u m en t s Aerophone Chordophone Electrophone Membranophone Idiophone
TE XTUR E Te x t u r e
monophonic solo, unison, doubling
homophonic with harmony in two,
con sordino glissando, tremolo harmonics distorted sounds note bending muted sounds
descant counter melody
polyphonic contrapuntal
melody and accompaniment
ST R U C T U R E Mu s i c a l De v i c e s
three or four parts
tutti
Fo r m La r g e Forms
repetition introduction sonata
sequence coda concerto
imitation binary cantata
ornaments ternary oratorio CXC 31/G/SYLL 09 39

ST R U C T U R E
(c o n t’ d . )
Call and response breaks and fill-ins
strophic
verse and chorus
symphony
canon overture
riff through-composed opera
ostinato chorus/refrain
loop ritornello
pedal rondo
drone sonata
ground bass air and variation
improvisation recitative and aria antiphonal
aleatoric da capo cadenza
PE RI OD Pe r i o d Ge n r e
ST Y L E Baroque calypso kumina
GE N R E Classical soca shango
Romantic Impressionist Expressionist
21st century/avant- garde
St y l e
traditional jazz
reggae dance hall spouge rhumba samba bossa nova tango
Jonkunnu Mento parang merengue programme music music theatre
blues salsa
swing quadrille
rhythm and blues zouk plainsong
march waltz
*No t e : Candidates should be aware of the main differences between various genres.
It is not expected that they will have a detailed historical knowledge of the development of all the forms listed above. CXC 31/G/SYLL 09 40

APPENDIX II
◆GLOSSARY
Word/Term Definition/Meaning
1.
APPRAISING
Analyzing, discussing and writing about music with understanding of structural and expressive elements.
2.
ARRANGING
Adding new treatment to an existing composition, which may incorporate changes in elements such as rhythm, key, dynamics, instrumentation and style.
3.
BHAJAN
Indian religious (Hindu) song.
4.
BLUES
In metre, an African-American jazz-associated, 12-bar harmonic pattern, utilizing blue notes and soulful lyrics.
5.
BREAK
A section in a rock or jazz composition in which one
instrument plays an accompanied solo passage;
improvisation by a musician.
6. CALL AND RESPONSE A form of song structure in which a leader sings a line
(call) and a chorus sings another line (response) alternately. This is very common in work songs, field hollers, soul and gospel music and can also be done with instruments.
7. CALYPSO Song form native to Trinidad, which is often based on social commentary.
8. CHUTNEY An original version of East Indian singing influenced by an Indo-Caribbean beat.
9. COMPOSING Selecting, sequencing and combining sounds to create an original piece of music.
10. COUNTERMELODY A melody that is played or sung at the same time as
another melody.
11. DRONE One or more notes played or sung as monotones all the way through a piece, or a section of a piece of music.
12. DUB Music created when Disc Jockeys add their own effects to existing recordings.
13. ELEMENTS OF MUSIC
The characteristic features of music - rhythm, melody, texture, MUSIC harmony, tone colour, form, dynamics, silence – which help to define its presence and impact. CXC 31/G/SYLL 09 41

14. ETHNOGRAPHIC CATEGORIZATION OF MUSICAL INSTRUMENTS
(a) Aerophone An aerophone is an instrument whose sounds are made by
blowing air into a tube. Examples: recorder, flute, fife, trumpet, bamboo saxophone.
(b) Chordophone A chordophone is an instrument whose sounds are made
by causing strings to vibrate, either by plucking
them (as in a guitar) or drawing a bow across them (as in a violin).
(c)
Electrophone
An electrophone is an instrument whose sound is created by electronic means. Examples: electronic keyboard, electric guitar.
(d)
Membranophone
A membranophone is an instrument whose sound is facilitated by the stretching of a skin over a hollow box or some other form of resonator. Examples: conga, bongo, timpani (drums).
(e)
Idiophone
An idiophone is an instrument whose sound is created from the material it is made of – that is, it is “self- sounding”, as the word suggests. Examples: shakers, claves, jingles, maracas and other small percussion instruments, which may be struck, shaken or rasped.
15.
GENRE
The generic term for a particular type of music, for example, Pop, Jazz, Latin-American, Classical.
16.
GRAPHIC SCORE
A score that uses alternative notation graphic shapes to indicate to the performers how the music should be performed.
17.
IMPROVISING
The art of spontaneously creating or arranging music while in the act of performing.
18.
JAZZ
A style that originated in New Orleans, out of the music of the Black American, then took many different sub- styles: blues, cool jazz, swing, bebop, rock. It features solo improvisations over a set harmonic progression.
19.
JONKUNNU
Processional song and dance music associated with the Christmas season in Jamaica, employing fifes and rattling drums as well as characterizations and costumes (including masks).
20.
KUMINA
Jamaican cult, originating in Africa and practised mainly in St. Thomas, St. Mary and St. Catherine. CXC 31/G/SYLL 09 42

21
MELODY
A succession of single tones of varying pitch, organised as an aesthetic whole, usually in the same key or mode; the linear aspect of music, in contrast to harmony, the vertical (chordal) aspect; melodies are constructed from motifs or short melodic fragments; polyphony results from music whose texture is formed by the interweaving of two or more melodic lines.
22
MENTO
National dance of Jamaica, often with topical lyrics. Like the rhumba, it has a 3 + 3 + 2 pattern, which can be easily recognised in today's dance hall music, especially on the bass drum.
23.
OSTINATO
A rhythmic, melodic or chordal pattern (or a combination of these) that is repeated throughout a piece or a section of a piece of music. The term is derived from an Italian word meaning “obstinate”.
24.
PARANG
The practice of house-to-house serenading by groups singing religious songs in Trinidadian Spanish dialect, especially at Christmas; the music so produced.
25.
RAGA
A series of pitches, in ascending and descending patterns, used in Indian music as a basis for improvisation in the classical music of North India. Ragas are associated with moods such as peacefulness or loneliness, and also with a particular time of day.
26. REGGAE Popular Jamaican musical style, whose main characteristic is the strong accentuation of the second and fourth beats in each bar. Its most internationally acclaimed practitioner is the late Bob Marley.
27. RHYTHM 'N' BLUES The precursor of early rock n' roll, a popular music which
combines strong repetitive rhythms with simple melodies, harmonies and the blues. Also known as R and B.
28. RIFF A melodic figure, typically two or four bars long, usually in the bass, repeated many times, common sometimes with slight alterations in shape or pitch level in many types of popular music and jazz.
29. RHUMBA/RUMBA A Cuban dance in time (3 + 3 + 2) with emphasis
primarily on rhythm and syncopation.
30.
SALSA
A dance song style very popular in Cuba and Puerto Rico.
31.
TABLA
A pair of drums used in most forms of North Indian (Hindustani) music. It is played with the fingers and other parts of the hands. CXC 31/G/SYLL 09 43

APPENDIX III
◆SUGGESTED READING AND RESOURCE MATERIALS
The following is a list of books and other printed materials that may be used for CXC Music. This list is by no means exhaustive or intended to be prescriptive, but is intended only to indicate some possible sources that teachers could use as appropriate.
Listening and Appraising - Composing
1. Bennett, R. History of Music, Cambridge University Press, 1987.
2. Bennett, R. Form and Design, Cambridge University Press, 1980.
3. Bennett, R. General Musicianship, Cambridge University Press, 1984.
4. Bennett, R. Fortissimo, Cambridge University Press, 1996.
5. Blake, F. The Trinidad and Tobago Steel Pan, History and Evolution, 1995.
6. Bowman, D., Burnett, M., Burton, I. and Cole, B.
A Student’s Guide to GCSE Music for the AQA Specification,
Rhinegold Publishing Ltd., Reprinted 2003, 2004, 2005, 2007
7. Bowman, D., Burnett, M., Burton, I. and Terry, P.
A Student’s Guide to GCSE Music for the OCR Specification,
Rhinegold Publishing Ltd., Reprinted 2003, 2004, 2006
8. Burnett, M. Jamaican Music, Oxford University Press, 1982.
9. Burnett, M. Pop Music, Oxford University Press, 1980.
10. Cripps, C. Edited by Bennet, R. and Burnett, M.
Popular Music in the 20th Century, Cambridge University Press, 1988.
11. Harris, R. and Hawksley, E. Composing in the Classroom, Cambridge University Press, 1989.
12. Howard, J. Edited by Bennet, R. Learning to Compose, Cambridge University Press, 1990. CXC 31/G/SYLL 09 44

Voice
1. (Volumes prepared by Publishing houses)
Broadway Repertoire: A Selection of Broadways Best In Their Original Keys (4 volumes – Sop., Alto, Tenor, Baritone), Chapel and Company, 1979.
Daffodils, Violets & Snowflakes–24 Classical Songs for Young Women Ages Ten to Mid-Teens, compiled by Joan Frey Boytim, Hal Leonard Publishing Corporation, 2003.
Fifty-six Songs You Like to Sing, G. Schirmer Incorporated, New Jersey, 1937.
Pathways of Song (Revised Edition), compiled, arranged, translated, edited by LaForce, F. And Earhart, W., Warner Bros. Publications Inc., 1983
5. Associated Board of the Royal Schools of Music
The Art of Song Grades 1-8, Peters Edition, 2008
The Singer’s Musical Theatre Anthology, (S. Volumes -Sop. Alto, Tenor, Baritone), Hal Leonard Publishing Corporation, 1986.
Young Ladies, Shipmates & Journeys–21 Classical Songs for Young Men Ages Mid-Teens and Up compiled by Joan Frey Boytim, Hal Leonard Publishing Corporation, 2008.
Recorder
1.
Bay, M.
Recorder Song Book, Mel Bay Publications, 1990.
2.
Bay, W.
Hymns & Sacred Melodies for RECORDER-Sopranao and
Alto Parts Included, Mel Bay Publications, Inc., 1985.
3.
Bergmann, W.
First Book of Descant/Soprano Recorder Solos, Faber
music Limited London, 1980.
4.
Bergmann, W.
Second Book of Descant/Soprano Recorder Solos, Faber
Music Limited London, 1983.
5.
Pitts, J.
Treble Recorder From The Beginning, Arnold Wheaton
Press, 1993.
6.
Sevush, L.
Broadway Favorites, arranged for Recorder Solo or Duet,
Hal Leonard Publishing Corporation, 1986.
7.
Sevush, L.
Broadway Hits, arranged for Recorder Solo or Duet, Hal Leonard Publishing Corporation, 1986. CXC 31/G/SYLL 09 45

Piano
Graded Examination Music.
2. Trinity Guildhall, London Graded Examination Music.
Saxophone
2. Herfurth, C. Tune a Day, Boston Music Company, 1953.
3. Trinity Guildhall, London
4. Wedgwood, P. Up-grade! (Foundation), Faber Music, 2000.
Trumpet/Cornet
1. Beeler, W. 29 Cornet Solos and Three Encores for Cornet, Trumpet or Fugelhorn in Bb with piano accompaniment, Schirmer London/New York, 1975.
2.
Hare, N.
The Magic Trumpet, Boosey & Hawks, 1992.
3.
Harrison, H.
Amazing Solos for Trumpet/Cornet, Boosey & Hawkes, 1996.
4.
Norton, C.
Microjazz Trumpet Collection 1 and 2, Boosey & Hawkes, 1988.
5.
Wilson-Smith, C
All Jazzed Up (Trumpet), Brass Wind Publications, 1986.
Trombone
1.
Lawton, S.
The Young Trombonist, Oxford University Press, 1970.
2.
Trinity Guildhall, London
Graded Examination Music. CXC 31/G/SYLL 09 46

French Horn
Graded Examination Music
2. Herfurth, C. and Miller, V. A Tune a Day for French Horn, Chappell and Company
Limited, 1953.
3. Langrish, H. Eight Easy Pieces for Horn and Piano, Oxford
University Press, 1972.
Violin
2. Bay, B. Mel Bay’s Favourite Student Violin Classics, Mel Bay Publications Incorporated, 1992.
3. Forbes, W. A First Book of Classical and Romantic Pieces, Oxford University Press, 1962.
Viola
2. Herfurth, C. A Tune a Day, Boston Music Company1953.
3. Trinity Guildhall, London Graded Examination Music
Cello
2. Trinity Guildhall, London Graded Examination Music CXC 31/G/SYLL 09 47

String Bass
Herfurth, C. A Tune a Day, Chappell and Company Limited or Boston Music Company Limited, 1953.
Clarinet
2. Burnett, M. Prelude Song and Dance for clarinet and piano, G. Ricordi
& Co. (London) Ltd., 1973.
3. Denley, I Time Pieces for Clarinet (Volumes 1-3), ABRSM, 1998.
4. Harris, P. Music Through Time (Clarinet Books 1-3), Oxford University Press, 1992.
5. Harrison, H. Amazing Solos for Clarinet and Keyboard, Boosey and Hawkes, 1990.
6. Haughton, A. Rhythm & Rag for Clarinet, ABRSM
8. Wastall, P. Session Time (Solos that expand into ensembles), Boosey & Hawkes, 1989.
Flute
1. Adams, S. Music Through Time (Books 1-3), Oxford University Press, 1992.
3. Rickard, G. and Cox, H. Flute Solos, Chester Woodwind Series of Graded Pieces, 1976.
4. Scott, A Flute Method Book 2 (For Intermediate Students), Progressive, 1992.
5. Trinity Guildhall, London Graded Examination Music CXC 31/G/SYLL 09 48

Oboe
Bassoon
Classical Guitar
2. Herfurth, C. A Tune a Day, Boston Music Company, 1953.
Ensemble
Keyboards Together, 2008.
2. Burnett, M. Classroom Calypso, International Music Publications, 1986.
3. Burnett, M. Five Pieces Two Guitars, Boosey & Hawkes Music Publishers Limited
4. Burnett, M. Suite Blaen Myherin for 2 trumpets 2 trombones, G. Ricordi & Co. (London) Ltd., 1973.
5. Burnett, M. Sweet Orange, Jamaica School of Music, 1981.
6. Christian, P. and Burnett, M. Caribbean Adventure, International Music Publications, 1988.
7. Christian, P. and Burnett, M. Reggae Schooldays, International Music Publications,
8. Dobbins, J. Strings in Step, Oxford University Press, 1991.
9. Forbes, W. Player Strings: Easy Ensemble Music, Chester Music London, 1995. CXC 31/G/SYLL 09 49

10.
Norton, C.
Microjazz For Recorder Group, Boosey & Hawkes, 1988.
11.
Quine, H.
Guitar Plus Woodwind, Oxford University Press, 1990.
12.
Sevush, L.
Let’s Play recorder: Broadway Favourites, Hall Leonard, 1986.
Sources of Material
Rubank Intermediate Method (Foundation, Intermediate, Advanced), Ruband Inc., Miami, Florida. Available for various instruments,
Bruce Pearson, Standard of Excellence Comprehensive Band Method, Books 1, 2, and 3. Neil A. Kjos pub. Available for various instruments. CXC 31/G/SYLL 09 50

APPENDIX IV
◆EXEMPLAR MATERIAL FOR PERFORMING
VOICE
Foundation
• Mostly syllabic, at a moderate tempo
• Mainly conjunct movement –range of at least a 9th
• Accompaniment doubles the voices
• Rhythm patterns use mainly
• Phrases of moderate length requiring straightforward breath control
THE SOUND OF MUSIC
Words by OSCAR HAMMERSTEIN II Music by RICHARD RODGERS
CXC 31/G/SYLL 09 51

Intermediate
• Syllabic plus simple melismas
• Melody has skips and simple leaps (5th, 6th) – range of about a 10th; simple modulation
• Accompaniment does not always double voice part
• More varied rhythm patterns – syncopation, off beats, triplets
• More variation in dynamics and other expressive qualities
TO SIR WITH LOVE
Words by Music by
DON BLACK MARC LONDON
CXC 31/G/SYLL 09 52

Advanced
• More melismas
• Melody has steps, skips and occasional leaps, and modulates – range of a 12th
• Accompaniment does not double voice
• Variety of complex rhythm patterns including semiquaver patters, requiring clear enunciation and
articulation
• Contrasting dynamics and other expressive qualities as well as characterization
WHERE’ER YOU WALK
(From the Opera “Semele”)
Words by Music by
POPE HANDEL
CXC 31/G/SYLL 09 53

Foundation
RECORDER
• Range covers lowest note to an 11th
• Intervals include scalar movement and arpeggic leaps
• Articulation involves staccato, legato and scalar slurs
• Key-signatures are limited to a maximum of two sharps and two flats
• Modulations are simple and few
• Tempo is slow to moderate
PONY TROT (Descant)
CXC 31/G/SYLL 09 54

Intermediate
• Range covers lowest note to a 14th
• Intervals include leaps of any interval within the octave
• Articulation involves staccato, legato, slurs, etc.
• Note values comprise semiquaver passages, triplets, some syncopation and simple ornaments such
as trills and mordents
• Key-signatures are expanded up to three sharps and three flats
• Modulations/accidentals occur with moderate frequency
• Tempo is moderate to allegro
CXC 31/G/SYLL 09 55

APPENDIX V
FURTHER GUIDANCE FOR TEACHERS AND CANDIDATES PREPARING PROJECTS FOR CSEC MUSIC
SCHOOL BASED ASSESSMENT
PROJECT
DESCRIPTION
GUIDELINES
PROJECT ONE – LIAP I
MUSICAL PERFORMANCE
Record on audio tape or compact disc (CD)
the music (20 – 30 minutes in duration) presented in a live performance. Compare and contrast the structural and expressive elements and comment on the socio- cultural significance of the music.
MAIN TASK: Analyze the music heard in a live performance.
• Attend a live performance representing any musical genre and
record the programme (or excerpts) presented on location.
• Extract the music (20 – 30 minutes in duration) that you will analyze and submit with detailed comments.
NB: Ex c l u d e t h e s p o k e n p a r t s o f th e p e r fo r m a n c e , e x c e p t w h e r e th e r e a r e sp o k e n e x a m p le s th a t su p p o r t y o u r a n a ly sis.
• Comment on the choice of the music/ repertoire, discuss
instrumentation, and analyse the structural and expressive elements detailed in the mark scheme on page 32 – 35. Make reference also to pages 36 - 40 of the syllabus (CXC 31/G/SYLL 09).
PROJECT TWO – LIAP 11
MUSICAL ADVERTISEMENT
Record on audio tape or compact disc (CD)
from radio or television, eight(8) musical advertisements (approximately 6 – 10 minutes in duration). Analyze the structural and expressive elements of the music and comment on its socio-cultural significance with reference to the effectiveness of its appeal.
MAIN TASK: Analyze the music from eight(8) musical
Advertisements.
• Collect musical advertisements from radio and or television
• Shortlist the eight (8) examples (approximately 6 – 10 minutes in
duration) that you will analyse and submit with detailed comments
NB : E x c l u d e a l l e x t r a n e o u s p r o g r a m m e m a t e r i a l .
• Comment on the socio-cultural significance of the music in terms
of the effectiveness of its appeal in conveying the message of each advertisement.
• Discuss instrumentation and analyse the examples in relation to
the elements detailed in the mark scheme on pages 32 – 35. Make reference also to pages 36 - 40 of the syllabus (CXC/G/SYLL 09).
PROJECT THREE – LIAP 111
CARIBBEAN PERFORMER/COMPOSER
Investigate the music of a prominent
Caribbean performer or composer by interviewing the artiste to gain information on career development, influences, method
• Conduct a LIVE interview with the selected artiste. Indicate the
time, date and venue of the interview which must be verified by your teacher.
• Document the information on career development, influences,

PROJECT
DESCRIPTION
GUIDELINES
and mode of performing or composing and
achievements. Record on audio tape or compact disc (CD) works (10 – 20 minutes in duration) by this performer or composer. Analyse the music in terms of structural and expressive elements and comment on its socio-cultural significance.
MAIN TASK: Analyse the music of a
(living) Caribbean performer/composer.
method and mode of performing or composing, achievements.
• Comment on the socio-cultural significance of the music. Discuss
instrumentation and analyse the music in relation to the elements as detailed in the mark scheme on pages 32 – 35. Make reference also to pages 36 - 40 of the syllabus (CXC/G/SYLL 09).
STRUCTURAL AND EXPRESSIVE ELEMENTS
• Metre
• Dynamics
• Harmony
• Melody
• Rhythm
• Structure/Form
• Tempo
• Texture
• Timbre
• Genre
Wes t e r n Z o ne O f f i c e 09 J u n e 2 0 0 9

Csec music syllabus

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